Up until recently, thinking about an affordable medium format mirrorless camera with video capabilities was only a dream. With the introduction of the Hasselblad x1d and the FUJIFILM GFX 50S, not only is this dream fast becoming a reality – it could also indicate the emergence of a pattern to the point of déjà-vu from the time when the Canon 5D Mark II was released and we started cinema5D.
FUJIFILM GFX 50S – Credit: FUJIFILM
During my recent trip to Japan, I had a chance to visit the FUJIFILM headquarters and talk to Takashi Ueno-san, a manager at FUJIFILM and a key member of the team behind the new GFX 50S. The main reason for this interview was to establish whether this new camera had a chance of becoming a valid working tool in the arsenal of aspiring filmmakers. In addition, I wanted to understand the technical challenges that manufacturers have to face when designing and manufacturing a camera with such a large sensor.
As you can see in the interview above, the new GFX 50S can only shoot video in full HD quality. However, what’s important to take from my chat with FUJIFILM is that this is only the beginning of a journey – one that will be very much dictated by the public response and acceptance of Medium Format for video work.
Takashi Ueno-san – FUJIFILM corporation
Here is a rundown of the questions asked in this interview:
00:23 – What is the reason for FUJIFILM to introduce a medium format camera?
01:30 – Are video users considered target users?
02:56 – What is the unique advantage of the FUJIFILM GFX?
04:08 – How are the video functions positioned in terms of priority?
06:01 – What is the merit for shooting HD video?
07:21 – What’s the reason for not implementing 4K video?
08:03 – X-T2 and GFX – which is recommended for HD shooting
09:00 – What are your plans for expanding the lens line-up?
10:59 – Can medium format be a good solution for 8K?
12:21 – What is the vision for the video function of medium format in the future?
14:35 – What about pricing and availability?
Rest assured that we will test the new camera as soon as a final sample becomes available to us. In the meantime, I hope you guys will take a minute (or 15), to watch the interview and let us know in the comments section below if such a camera might be interesting for you.

Saramonic has just released yet another audio device. This time, it’s a tiny 2-channel mixer with 48V phantom power designed for those mirrorless and DSLR cameras which lack a headphone jack, as well as for use with smartphones. Meet the Saramonic SmartRig Plus!
Saramonic SmartRig Plus
Shooting with small cameras these days can often be problematic when it comes to audio. Quite a few cameras lack a proper headphone jack and smartphones usually don’t have any audio section at all. The Saramonic lineup of affordable audio adapters and mixers are here to help tackle these issues. The new SmartRig Plus offers a lot of features for its form factor and price point, namely four inputs in a variety of different connectors, 48V phantom power and two output channels.
Features
In terms of connectivity, the SmartRig Plus doesn’t leave you in the rain. Two XLR combo inputs let you connect either a XLR source or a 1/4″ source per channel. On top of that, the unit is equipped with a 3.5mm mini jack input per channel, which adds lots of possibilities there. That way, it’s even possible to connect up to four sources at the same time, but remember that since the SmartRig Plus is a two-channel device, it will mix down two channels down to one respectively.
The gain on each channel can be adjusted individually with some decent sized knobs just like you would expect from a proper audio mixer. The incoming signals can be set to stereo, resulting in a baked in stereo file. When set to mono, though, each channel can be controlled independently.
48V phantom power can be switched on and off, and there is also a switch for setting up the output of the SmartRig Plus for camera or smartphone use. What this does is basically route the signal to the correct segments of the hard wired output mini jack, be it TRS (Tip-Ring-Sleeve) or TRRS (Tip-Ring-Ring-Sleeve) often used in smartphones. You can see the different type of connectors below.
comparison between TRS and TRRS style mini jack connectors
Next to the output cable, you can find the headphone jack which you so desperately miss on your Sony a6300 / Sony a6500! While being able to monitor your incoming audio, this headphone jack can also be used as a second output if you happen to need more than one outgoing signal.
The whole unit is powered off a single 9V battery which will last up to six hours. To mount the unit, there is a standard 1/4″-20 mounting point as well as some convenient strap holders attached to the bottom of the SmartRig Plus, allowing you to tie the unit to a tripod or handheld rig. Really nice!
Pricing and Availability
The Saramonic SmartRig Plus is available as of now, but stock still seems to be a bit limited. You may have to wait a few more weeks until you can pick it up at your retailer of choice. It is priced at $99.95. (a little bit less then the $120 Jennifer is mentioning in the video).
Read more about the SmartRig Plus on Saramonic’s website.
Are you struggling with decent audio quality on your existing cameras? Maybe this tiny thing can improve it, big time! What do you think? Let us know in the comments below.

This might not be the perfect camera for everybody, but if you happen to be part time indie shooter and part time musician, the new Zoom Q2n just might be the perfect tool when it comes to quickly capturing your performance in both worlds, audio and video!
Meet the Zoom Q2n
Japanese company Zoom is well-known for their quality audio-capturing and recording devices, such as the famous Zoom H4n. A couple years back, they entered the market of smaller sized video cameras too, and now it seems that they are bringing it all together with the introduction of the Zoom Q2n.
It is basically a combination of one of their quality audio recording devices with one of their video cameras. The product is a completely new category of audiovisual capturing device, aimed for a very specific market. The result is pretty impressive, as this tiny device seems capable of capturing not only high quality audio, but quite decent video at the same time.
For shooting cinematic footage you would probably pick another camera, point taken. But for this very specific field of application the Zoom Q2n seems to be a very decent tool.
Specifications
Let’s break down the specs of this little device. Audio-wise the Zoom Q2n is equipped with built-in X/Y stereo microphones capable of handling sound levels up to 120 dB SPL, and it can record up to 24Bit 96kHz in a WAV container. For setting levels, there is a nice big dial there for you, with no fussing around with deep menu structures.
You can also use the device as a standalone audio recorder. There is a mini jack input on the side which takes either an external microphone or a line level source. For an external microphone, it’s important to mention that only “plug-in power” (5V DC ) is supported, not to be confused with phantom power (mostly rated at 48V DC). In terms of outputs, a combined headphone / line out mini jack can be found right next to the input jack.
Another way of using this tiny jack of all trades is to plug it into your DAW (digital audio workstation) via USB and record directly into your given project. Since it can handle up to 120 dB SPL (which is pretty loud) even badass drum solos shouldn’t be a problem. Have a look here:
On the video side of things, the Zoom Q2n records FullHD at up to 30fps through a fixed focus (36 cm – ∞) lens rated f2.0 with a 160˚ FOV (field of view), which translates roughly to 16.6 mm of focal length on a 35mm sensor equivalent. The codec used is a MPEG-4 AVC/H.264 within a MOV wrapper. The massive wide angle can be adjusted in five FOV steps: (×0.75 / ×0.85 / ×1.00 / ×1.30 / ×1.50). As I said, the specs are certainly not the greatest ever, but the resulting footage looks pretty good indeed.
For powering the Zoom Q2n, you need two AA batteries (batteries included), which will power the device for about two to three hours, depending on the video quality setting. An optional DC adapter can be purchased separately, as well as several accessories such as a windscreen, a hot shoe mount or a tripod adapter.
Pricing and Availability
The Zoom Q2n will hit the market by December and it will be priced at $159. For that price point, I think you get a lot of features in a very tiny package. But again, this is not for everybody.
Read more about the Zoom Q2n on their website.
Any musicians around here? What do you think, is this tiny Zoom Q2n something worth exploring? Let us know in the comments below!

Since the annual Inter Bee (International Broadcast Equipment Exhibition) is taking place in Sony’s home country, it’s time to catch up with the company and chat about their latest developments. How about X-OCN – their new compressed raw codec – announced half a year ago, for example?
Sony’s X-OCN Codec
It’s been a while since its initial announcement, but the newly developed X-OCN codec by Sony seems to be very promising. The first and only application for this codec for the time being is with the so-called AXS-R7 recorder module, which is designed especially for the Sony PMW-F5 and F55 range of cine cameras. You can read all about this recorder in this article.
As a tiny refresher, X-OCN stands for eXtended tonal range Original Camera Negative, and if you’re thinking of RED’s signature compressed RAW workflow called REDcode, it’s actually not that far off. X-OCN offers 16-bit of latitude straight from the sensor but it’s capable of outputting significantly smaller filesizes than pure RAW footage.
The Sony F5 camera with an AXS-R7 recorder attached. For now this is the only way to record X-OCN.
As time went by, news about X-OCN quickly became quiet. Blackmagic announced DaVinci Resolve support for this new codec, but other than that, nothing.
At this years Inter BEE – taking place in Chiba City, Japan – our very own Johnnie Behiri took the opportunity to talk with Sony’s Yutaka Okahashi about this promising codec and its possible future applications.
X-OCN in Mirrorless Cameras?
Since X-OCN is a high-end codec, it seemed unlikely to see this technologly implemented in Sony camera models further downstream, such as their popular mirrorless lines of cameras. Anyone interested in a Sony A7s II with compressed RAW recording? Well, Mr. Okahashi mentions exactly that… after a little push from Johnnie. But it seems it could be possible to implement such high-end technology in the somewhat lower end cameras (from a F5 perspective) in the future. For now, though, these models live in a X-AVC universe. This codec comes in different flavours, caters 4K as well as HD and is widely implemented in NLEs. But it is a compressed format, far off from RAW.
If we think of the $7,000 Sony AXS-R7 recorder as a proof of concept, maybe things will get interesting in the not too distant future. What about forgetting compressed formats altogether and going all in, with the full sensor latitude in a pocket-sized camera? Now that sounds like a bright future, indeed. Let’s hope that Sony is listening.
As Johnnie puts it:
The rule is very simple. If you don’t make it, somebody else will make it.”
What do you think about his type of codec? Does it seem promising to you or are you happy with the current compressed formats available in mirrorless cameras? Let us know in the comments below.

A few months ago, we saw the announcement of the Manfrotto Pro Light Reloader-55: a new international carry on camera bag. We caught up with them at Inter BEE 2016 to check out the new roller.
Manfrotto has been steadily upping its bag game since absorbing Kata some 2 years ago.
The Pro Light Reloader-55 is one of Manfrotto’s newest roller bags, built to the maximum of international carry on sizing.
As expected with any bag of its kind, the main compartment is well equipped with padded dividers, and the red flexi sections make it particularly easy to spec up the inside to your exact requirements.
Despite being billed a carry-on roller, the Reloader-55 still features a TAS approved lock for added security. Travellers will also appreciate the well-built wheel system that can also be easily replaced should any breakage occur.
The Roller is water repellant, and also features a rain protector for harsher weather conditions.
You can squeeze up to a 17” laptop and 10” tablet in separate compartments, and the exterior side has a pocket and anchor points for connecting small tripods and light stands.
The lid has a host of interior pockets, some of them webbed to quickly identify contents. The lid is also supported with two removable strap supports.
There’s not much else to say about the Pro Light Reloader-55, except a few specifications on size and weight which you can find at the bottom of this page, along with links on where to get it. Here’s also what Manfrotto has to say about some possible setups this case can hold:
“It fits typical DSLR camera sets (e.g. 3 bodies with 8 lenses), super-tele DSLR set (e.g. 1 body with 400mm f/2.8 lens attached and 3 more lenses) & camcorder with lighting set (e.g. disassembled Canon C100 with 2 light kits)”
Specifications for the Manfrotto Pro Light Reloader-55
External (HxLxW): 55x35x23cm
Internal (HxLxW): 48x32x18cm
Weight: 4900g/10.8 lbs.
Laptop Compartment (HxLxW): 40x32x2.5cm

The unveiling of the DJI Inspire 2 yesterday took us all by surprise. This new professional camera drone offers a plethora of features and impressive specs. At Inter BEE 2016 in Japan we had a chance to look at the new DJI Inspire 2, and found out a few more tidbits like information regarding the improved RAW offload speed.
In a nutshell, the DJI Inspire 2 offers a 5K RAW camera that also includes Apple ProRes and H.265 codecs, obstacle detection, an additional front-facing camera for navigation, an interchangeable lens system, higher speeds, redundant systems, increased flight time and more.
Taketoshi Kumada from DJI Japan, an experienced Inspire 1 user, had the chance to fly with the new drone, and what seems to have impressed him most is the overall more advanced flying experience with the DJI Inspire 2. In comparison, he says the new drone now really stays in the air with its new vision positioning system. Kumada could only use the Inspire 2 indoors, but he describes the experience as fantastic.
Interesting for many will probably be the battery flight times he reports about. As I can confirm, the Inspire 1 with the Zenmuse X5R RAW camera had an air time of a mere 10-12 minutes on a single charge. In comparison, Kumada claims, that same Zenmuse X5S RAW camera on the new Inspire 2 gets you 25 minutes in the air. That’s impressive.
Another very important piece of information for me as a shooter is the offload time Kumada talked about. This is still one of the main problems on the DJI Inspire 1 RAW: offloading a full 512gb magazine could take up to 5 hours, and the lack of an option to delete individual clips meant you were sometimes stuck offloading for hours until you could resume flying. It seems like this issue has been resolved with the introduction of the onboard CineCore 2.0 system that stores all files in a readable format on the SSD and lets you use them like any other external hard drive.
I’m yet to find anything I don’t like about this drone, besides the fact that a failsafe algorithm for single propeller damage is obviously missing on this quadcopter design. Other than that, I’m impatiently waiting to test this cinema camera / drone marvel soon.
The DJI Inspire 2 is available for pre-order now. The basic version will cost around $3600, while the Zenmuse X5S (RAW) version will set you back by about $6,000.

Tascam’s latest recording creation, the Tascam DR-10C was presented to us earlier today during Japan’s largest broadcasting exhibition, Inter BEE 2016. The DR-10 family of recorders is continuing to grow, and by doing so is trying to cater the different needs of different users.
Besides being extremely small and versatile, the core feature of these recorders is the ability to record in a dual level adjustment mode. This help protect audio levels, which is particularly useful as these body pack sized recorders are intended to be carried by the interviewee and can’t be monitored remotely.
I’m yet to be convinced that this is indeed a safe enough way to work, and haven’t completely let go with my audio recordings yet, BUT the new Tascam DR-10C is actually trying to solve a completely different problem. Have you ever been is a situation where you used your wireless audio device and suddenly had some sound “drop outs” or interference? Well, it has happened to me, and obviously in a situation like this you are faced with two options. You either stop the video recording and politely ask to do the whole sequence again (not always possible if it is a documentary-style shooting), or move around until you find a spot that doesn’t break your sound, a useless exercise in most cases.
Here’s where the Tascam DR10-C comes to the rescue. Simply connect it to your lavalier microphone, then connect the Tascam recorder to your wireless transmitter. By doing so, you will get a clean audio copy on that mini portable recorder regardless of any possible interferences further down the signal chain. Neat solution for a very common problem.
At this stage, the Tascam DR-10C is only available in Japan and Europe. For full specifications and native wireless device compatibility, please head over to Tascam’s page.
What do you think? Could this be the device that will save the day? Let us know in the comments section.